Distinguished Alumni Awards: Cassandra Miller

We are thrilled that Cassandra Miller is the recipient of one of the 2025 Presidents’ Alumni Awards. Born in Victoria, Cassandra received her Bachelor of Music in Composition and Theory from UVic in 2005; her brother, the award-winning graphic designer Emrys Damon Miller, is also a Fine Arts alumni (Visual Arts). 

An acclaimed Canadian-British composer who has been living in London, England, since 2018, Cassandra’s composition methods incorporate a unique practice of meditation-based uncontrolled singing to learn about melody and repetition. She uses these vocal exercises together with creative transcription processes to transform pre-existing musical sources (from both within and outside the classical tradition) to magnify their expressive, personal, or fragile qualities.

“Music this uncalculatedly beautiful leaves you almost desperate with gratitude,” wrote Alex Ross of her work in The New Yorker, while The Guardian hailed her “Duet for Cello and Orchestra” as among the top 20 “Best Classical Music Works of the 21st Century.” Over the past year, her works have appeared internationally at the BBC Proms, GöteborgsOperans Danskompani and on tour with the Australian Chamber Orchestra. She has twice received the Jules Léger Prize for New Chamber Music, Canada’s highest honour for composition, and in 2025 she will be a visiting scholar for three months as lecturer at Stanford University.

Endless possibility

“I originally went to UVic to study my instrument—the harp,” Cassandra recalls. “On the first day of classes I took a composition elective and then realized, ‘Oh gosh, this is what I do now.’ It was life changing.” 

She recalls the School of Music as the kind of place where, as far as creativity goes, “anything was possible… You were taught that to be an artist was to be a bit of a weirdo. It was so freeing and so important. I learned about myself… how to be that kind of creative, how to be free and playful by being myself… At the time I just thought that was good education, but afterwards I realized that it was also artistically incredibly unique and important. It was a very special place.”

Over the years, she has been invited as a visiting teacher and lecturer at many institutions including Stanford, Columbia, CalArts, London’s Royal Academy of Music, Birmingham Conservatoire, McGill University, the University of Manitoba and the Orkest de Ereprijs Young Composers Meeting. From 2010 to 2013, she held the post of Artistic and General Director of Innovations en concert, Montreal, and from 2018 to 2020, Miller was Associate Head of Composition at London’s Guildhall School of Music and Drama, leading the undergraduate program.

Cassandra Miller with the BBC Philharmonic at the 2023 Aldeburgh Festival (BPA/The Guardian)

Collaboration and listening

Cassandra says she finds the art and practice of composing “extremely collaborative. On the surface, it looks like I’m sitting at home staring at my computer, but because I’m writing music for other people to play, even the least collaborative project is extremely collaborative. And then there’s the idea of making space for another person, and it’s a skill that I’m continuously learning. Every opportunity to interact with somebody is an opportunity to learn how to listen better. And the other side of that is listening to oneself and making the space to listen to what’s going on inside and what needs to happen and how to make space.”

What I’ve learned

“I’ve learned how to gather around me the support that I need. This was something I learned late in life… I have pretty strong ADHD, and I need to hire an assistant. I need to hire a personal trainer. I need to have a therapist at all times. I also need to keep my family and friends close, and I always need to live with somebody. There’s a lot of things I need that I’m getting better at asking for and putting into place.”

“A friend of mine used the mantra ‘Try less hard,’ and I took it on… It’s about making that space for listening. Often when you’re trying too hard for something, you’re not making the space to listen to what’s really going on. Often the solution is to change a situation or try something a bit differently. But if you’re already trying hard, trying harder usually isn’t the thing that’s going to make it work.”

Speed round!

Something that brings me joy: 

“Bird song… London has parakeets, which are a huge part of the soundscape of the city. They’re an invasive species, but they have this wonderful chatter and they’re very loud at sunrise and sunset. It’s a way to mark the time in the city, and they fly around in these huge flocks and they’re bright green. They’re lovely.” 

One food I can’t resist: 

“My family makes these traditional Lebanese Christmas cookies.  We call them Sticky Fingers because they’re roughly the shape of a finger and they’re dipped in honey, filled with almonds and orange blossom water. And they have little bits of aniseed in the dough.”

Something great I’ve watched recently: 

“A movie called The Cassandra Cat. It’s this absurd, surreal movie from the Czech Republic in the early ’60s. I sort of recommend it, but you have to be in the right mood.”

A cool thing about where I live: 

“London has so many trees in it that it’s classified as a forest.”

Secret talent:

“I am incredibly patient, and I don’t mind waiting, and it’s very extreme. If a friend is three hours late to meet me, no problem. I just love waiting around.”

A talent I wish I possessed: 

“I wish I could dance better. I think it’s an important thing in life. I think life is probably about eating, sleeping, singing and dancing.”

 Read more about UVic’s 2025 Alumni Awards here

Supporting the next generation of writers in the 2SLGBTQIA+ community

Thanks to the Candis Graham Writing Scholarship, an award created by the Lambda Foundation alongside friends and family of the renowned lesbian-feminist writer and teacher, UVic student Zoe Bechtold is able to explore her diverse interests in writing and performance arts.

From stage acting and puppet theatre to writing interactive fiction, Zoe has a passion for exploring innovative and creative ways to tell stories—with a particular focus on queer characters and other underrepresented voices.

 

As a dedicated author with a growing portfolio of short stories, plays, and fan fiction, Zoe is currently pursuing a BFA in Theatre and Writing here at UVic. She was recently awarded the 2024 Candis Graham Writing Scholarship for her exceptional academic performance and compelling application essay. (The 2023 Candis Graham Scholarship went to fellow Writing student Elena Stalwick.)

“It’s motivating to feel that my writing is being recognized,” she says of the scholarship, which was established by the Lambda Scholarship Foundation Canada in collaboration with the family and friends of feminist writer Candis Graham for students in the 2SLGBTQIA+ community and allies.

“I’m so glad this award exists to support the queer and trans community. I know so many talented queer writers and it’s meaningful to know that people and organizations are actively providing financial resources.”

Zoe (left) & her twin brother Link in Peter Pan at Calgary Young People’s Theatre (Rob Galbraith)

Leaving Calgary’s theatre scene to find community in Victoria

Growing up in Calgary, Zoe came to UVic with years of experience writing and acting, honed with support from the city’s theatre community. A major milestone in her acting journey included a serendipitous twist: her debut role at Calgary Young People’s Theatre was as one of the Lost Boys twins in Peter Pan—played alongside her own twin brother.

Encouraged by mentors who recognized her potential, Zoe chose to attend UVic, drawn to its reputation for creativity, supportive community, and stunning natural setting.

“It was partly the location—Victoria is really beautiful—and partly knowing older, accomplished actors I admired who have also studied here,” Zoe shares.

Since arriving in Victoria, Zoe has immersed herself in a rich tapestry of perspectives and opportunities that have nurtured her talents. At UVic’s Phoenix Theatre, she has contributed to productions every year of her studies, including Dead Man’s Cell Phone (2021), Spring Awakening (2022), The Importance of Being Earnest (2023), and The 25th Annual Putnam County Spelling Bee (2024).

“There’s a big theatre community here in Victoria—people I can ask for advice, like those at the Phoenix or graduates who are producing their own work. It’s really inspiring.”

Zoe practices her skills in a Green Fools puppetry workshop (Keith Cartmell) 

Candis Graham’s legacy of creativity and advocacy

Zoe’s journey reflects the creative spirit embodied by Candis Graham. Like Zoe, she also came from outside BC and found a home in Victoria’s artistic community. Born in Ontario in 1949, she was a writer and editor of short fiction, poetry, creative non-fiction, essays, and novels, unabashedly open about her lesbian and feminist identity, despite encountering discrimination. After moving to Victoria in 2001, she spent her final years writing, teaching, and running a greeting card company that combined word collages and verse—leaving behind a legacy of creativity and advocacy.

For Zoe, receiving the Candis Graham Writing Scholarship has eased the financial challenges of university life and allowed her to focus on her studies and creative pursuits.

“I’ve enjoyed using my time at UVic to explore and develop my expertise in theatre and writing. I am happy with the growth I have noticed in myself as a writer that has resulted from my classes and coursework,” she says.

Fascinated by unconventional storytelling that meshes the visual with the written word, Zoe is interested in studying puppet theatre and hopes to one day write and illustrate a graphic novel.

Looking ahead, she also envisions cultivating opportunities for both her and others by founding a creation company with her twin brother and a close friend.

“My professors are always telling us, ‘You’ve got to produce your own work,’ and that’s what I hope to do,” she says.

 

Learn more about giving to UVic. 

Indigenous research and community springs from arts lab

From left: Heather Igloliorte with Taqsiqtuut Research-Creation Lab staff Chris Mockford & Natalie Rollins

There’s a new Indigenous arts research space at the University of Victoria (UVic) that is looking up—way up—to the arts of the circumpolar region, as well as all along the Pacific shoreline and from Alaska to New Zealand, with Victoria at the center of it all.

The Taqsiqtuut Research-Creation Lab is the latest project by Heather Igloliorte, UVic’s inaugural Canada Excellence Research Chair (CERC) in Decolonial and Transformational Indigenous Art Practices, based in the Faculty of Fine Arts. Igloliorte’s prestigious eight-year, $8-million position is advancing reconciliation through the transformative power of art and innovative exhibition practices, and is supporting a new generation of students, researchers, educators, curators and artists to drive change through artistic practice.

“Indigenous people don’t necessarily have access to the same cutting-edge technologies that others do, just like they lack access to museums and galleries in the North,” says Igloliorte.

The development of digital and media-arts skills is one main area that will help remove these barriers by putting innovative tools—like augmented and extended reality—into the hands of students and artists alike. “They can experiment and see if they’re interested in bringing their current practices into a media art space … The potential is there for people to grow in exciting new directions.”

As such, the Taqsiqtuut Research Creation lab is addressing the key pillars of Igloliorte’s CERC: not only these practical digital skills but also the creation of exhibitions, the training and mentoring of students and youth, and the development of new policies and best practices for institutions that engage with Indigenous art and artists.

See the lineup & RSVP for the Feb 28 launch event here, including a 1pm welcome and panel discussion, a 3pm film screening and the 5-7pm installation walk-through and demonstration.

Listen to this interview with Heather Igloliorte on CBC Radio’s All Points West on February 27.

The “qiaqsutuq” installation on view at the opening of the Taqsiqtuut Research-Creation Lab,
curated by Heather Igloliorte, Alysa Procida & Carla Taunton

Designing new collaborations

Open to students and Indigenous members of the artistic community, as well as visiting artists and artistic residencies (plus other community members by invitation), the Taqsiqtuut lab is named after the Inuktitut word for patterns and designs, which suits Igloliorte’s intention of providing a training and mentorship space at the intersection of both customary and digital practices.

“In the past, I’ve worked with artists who’ve learned how to take their beadwork practice and turn it into stop-motion animation, for example, or to take their work on the land and then translate that into a VR or an augmented reality film or project,” explains Igloliorte. “But it can also go the other way: we work with artists with a lot of training in digital or media practices who are now thinking about translating their work into a land-based practice, or an intangible heritage project.”

Currently run by a diverse mix of five (including faculty and staff, plus post-doctorate, graduate and undergraduate students), the lab is in the process of building up a technological library of project-based digital tools.

“We’ll keep building as we go,” says Igloliorte. “For a stop-motion project, we’ll invest in stop-motion technology, and when we work with seamstresses on an Indigenous customary clothing pattern-making workshop, then we’ll purchase a pattern-imaging device. “We also have a high-end video and media arts editing suite and a digital media arts technician who’s here to help students and community members realize their own far-ranging projects.”

Carey Newman demonstrates his Witness Blanket VR project to a visitor
during the launch of the Taqsiqtuut Research-Creation Lab on Feb 28 

Championing research creation

Officially opened on Feb. 28 with an afternoon of panel discussions, art installations, project demonstrations and a film screening, the lab showcased dynamic emerging digital media projects. The Witness Blanket VR by UVic’s Impact Chair in Indigenous Art Practices and Visual Arts professor Carey Newman—which transitions a Winnipeg-based, reconciliation-focused sculptural installation into a virtual reality program accessible by anyone with a virtual reality rig—was also featured.

The Taqsiqtuut lab launch will also mark the conclusion of one of Igloliorte’s research projects centering on promoting and protecting Indigenous arts, culminating in a panel discussion with a local focus on the appreciation and appropriation of Northwest coast arts.

Previously a Tier 1 University Research Chair at Concordia University, where she co-led the Indigenous Futures Research Centre in the Milieux Institute for Arts, Culture and Technology, Igloliorte is now excited to be creating an Indigenous research-creation lab here at UVic.

“This space is unique in many ways because of the areas we’re approaching with the CERC and the work that we’re doing,” she explains. “I’ve seen a lot of amazing arts-based technological labs, and I’m excited to partner with other institutions.”

One of these partnership projects is Qiaqsutuq, a multimedia sculptural installation which offers an Inuit perspective on climate change, as told Greek-chorus style from the perspectives of five gigantic Arctic animals or beings. It was produced with the Centre for Inter-media Arts and Decolonial Expression at Halifax’s NSCAD University—which is co-led by Leah Decter and Tahltan artist Peter Morin (who collaborated on UVic’s Big Button Blanket project back in 2014)—and which will engage another of her CERC partners, Western University’s Center for Sustainable Curating.

Igloliorte feels UVic—and Victoria specifically—is an ideal location for the Taqsiqtuut lab.

“Victoria is nestled at the center of both the Pacific and the North, from the west coast of North America on up to Alaska, then across the Arctic and around the circumpolar world, but also over to Hawaii, Australia, New Zealand and Samoa,” she says. “I have a large network of colleagues and artists I’ve been working with for a long time—partners who are working and thinking across Indigenous cultures, and learning from each other in order to move towards this place of transformation and decolonization.”

Curating the future

In addition to maintaining her international partnerships and establishing the Taqsiqtuut lab, Igloliorte also carries a teaching load with the Visual Arts department and supports various community projects, such as jurying the Salt Spring National Art Prize and the Yukon Art Prize, and curating Newfoundland’s international Bonavista Biennale—all of which is part of her robust CERC position.

She will also host a UVic conference in May 2025 for all the stakeholders who contributed to her CERC application. “It will be a big international gathering of Indigenous scholars and museum directors, plus curators, artists and community members,” she says. “We’re coming together to make plans for publications, exhibitions, mentorships, public engagements and policy documents.”

Heather Igloliorte’s multifaceted and interdisciplinary work aligns with UVic’s commitment to ʔetal nəwəl | ÁTOL,NEUEL, as well as commitments to the United Nations Sustainable Development Goals focused on quality education, decent work, economic growth, reduced inequalities and peace and justice.

The “qiaqsutuq” installation was created by Jamesie Fournier (Nunavummiut/Yellowknife), Erin Ggaadimits Ivalu Gingrich (Koyukon Denaa & Inupiaq/Anchorage), Colo Lyne (Kalaaleq Greenlandic/Denmark), Malayah Maloney (Nunavummiut/Vancouver) and Taqralk Partridge (Nunavummiut/Ottawa), and curated by Heather Igloliorte (Nunatsiavummiut/Victoria), Alysa Procida (Settler/Toronto) & Carla Taunton (Settler/Halifax)

Pacific Opera Victoria Presents Barbara Hannigan & Bertrand Chamayou

Do not miss this one-night-only event! 7:30pm December 02 at McPherson Playhouse. An evening of music with renown artists soprano Barbara Hannigan & pianist Bertrand Chamayou, with special guest appearances by Terrence Tam (Principal Violin of Victoria Symphony) and Benjamin Butterfield (Head of Voice, UVic School of Music). The duo will present a concert at the McPherson Playhouse featuring Messiaen’s Chants de Terre et de Ciel, Scriabin’s Poème-nocturne and Vers la flamme, and John Zorn’s Jumalattaret. Barbara and Bertrand’s visit is made possible in part with support from Pacific Opera Victoria.

 

With a musical programme featuring Messiaen’s Chants de Terre et de Ciel, Scriabin’s Poème-nocturne and Vers la flamme, and John Zorn’s Jumalattaret, be ready to be whisked away on a fascinating and eclectic journey through diverse musical landscapes.

Messiaen’s mystical and nature-inspired compositions – rich with complex rhythms, vibrant colors, and mystical themes – create an ethereal and contemplative atmosphere. Scriabin’s metaphysical and harmonically adventurous works is dreamy and dramatic, brimming with sensuous textures, innovative harmonies, and a sense of transcendence. Zorn’s modern and genre-defying piece is a masterwork in the advent-guarde. It boldly presents a complex tapestry of sound that explores the boundaries of traditional and contemporary music.

Barbara Hannigan

Barbara Hannigan, an unparalleled artist, embodies music with remarkable dramatic sensibility. Collaborating with luminaries like John Zorn, Simon Rattle, and Sasha Waltz, she’s at the forefront of musical creation. Her commitment to contemporary music is evident in premiering over 90 new works and collaborations with composers like Boulez and Ligeti. Recently, she debuted Poulenc’s La Voix Humaine, blending singing and conducting with live video. Her conducting debut with the Royal Concertgebouw Orchestra and ongoing collaborations with esteemed orchestras mark her as a leading figure in the music world. Her recordings, including the Grammy-winning Crazy Girl Crazy, showcase her exceptional talent. Barbara’s dedication to mentoring young artists led to initiatives like Equilibrium Young Artists and Momentum. Recognized with prestigious awards like the Gramophone Magazine’s Artist of the Year, Barbara Hannigan continues to inspire and innovate in the world of music from her home in Finistère, France.

Bertrand Chamayou

Bertrand Chamayou stands as one of today’s most brilliant pianists, acclaimed for his virtuosic and deeply imaginative performances. Renowned for interpreting French music, he’s explored major works by Ravel, Liszt, and Messiaen. Chamayou’s collaborations with contemporary composers demonstrate his passion for innovation. Performing worldwide at esteemed venues and festivals, he’s graced stages with renowned orchestras and conductors. This season, he’s featured in an ‘Artist Portrait’ series with the London Symphony Orchestra and anticipates the release of his forthcoming album, “Satie-Cage.” His acclaimed recordings, including Messiaen’s Vingt Regards sur l’enfant-Jésus, have garnered numerous awards and accolades, showcasing his mastery. Chamayou’s artistic endeavors extend beyond performance, as he co-directs the Festival Ravel, a prominent celebration of Maurice Ravel’s legacy. With a multi-award-winning discography and an unparalleled dedication to musical innovation, Bertrand Chamayou continues to captivate audiences worldwide.

Jeannette Armstrong and Lina de Guevara awarded Honorary Doctorates

The Faculty of Fine Arts is thrilled to announce that Jeannette Armstrong will be awarded an Honorary Doctor of Letters (DLitt) and Lina de Guevara will be awarded an Honorary Doctor of Fine Arts (DFA) at the Fall 2024 Fine Arts convocation ceremony.

You can watch as part of the UVic convocation livestream starting at 10am Tuesday, Nov 12 (Armstrong) and 2:30pm Wednesday, Nov 13 (de Guevara). 

Armstrong

About Jeanette Armstrong 

Jeannette Armstrong is an associate professor in Indigenous Studies and the coordinator of Interior Salishan Studies Centre at UBC Okanagan. She is a member of the Royal Society of Canada and an Officer of the Order of Canada. Born on the Penticton Indian Reserve in the Okanagan, Armstrong is a multi-faceted writer, visual artist, researcher, educator, leader and activist.

She received a Diploma in Fine Arts from Okanagan College, then earned a Bachelor of Fine Arts in Creative Writing from the University of Victoria in 1978. In 2009, she received her doctorate in Indigenous Environmental Ethics from the University of Greifswald in Germany.

Armstrong is one of the founders of the En’owkin Centre (originally named the Okanagan Indian Curriculum Project) to provide students with strong cultural and academic foundations for success. The Centre includes Theytus Publications, the first Indigenous-owned publishing house in Canada.

The En’owkin International School of Writing, founded by Armstrong in a partnership with UVic’s Faculty of Fine Arts, has served Indigenous artists and writers for over 40 years. Armstrong was a co-founder of En’owkin’s Certificate in Aboriginal Language Revitalization which operates in partnership with UVic’s Department of Linguistics serving Indigenous communities throughout Canada.

As an influential advocate for Indigenous peoples’ rights, Armstrong has been a force of change and widescale community impact through her artistic, research and educational vision.

de Guevara

About Lina de Guevara 

Lina de Guevara’s career as a director, writer, actor, and teacher has left an indelible impact on Canada’s theatre community. As the founder and former artistic director of Puente Theatre, she dedicated 25 years to sharing the stories of immigrant and refugee communities.

Having fled a military coup in her native country of Chile before settling in Victoria in 1976, de Guevara drew upon her own lived experiences to produce dozens of critically acclaimed plays and collaborations that have toured nationally and internationally.

Visionary productions such as I Wasn’t Born Here, Crossing Borders and Familya shed light on issues such as discrimination, social justice, and employment barriers. By exploring these themes, de Guevara’s work has both entertained and educated audiences for decades.

Trained at the Instituto del Teatro (University of Chile), she has used her skills to teach, mentor, and create space for emerging Indigenous artists and artists of colour across Vancouver Island. As a workshop facilitator at the University of Victoria and instructor at institutions like Royal Roads University, Camosun College, and the Canadian College of Performing Arts, de Guevara has left an enduring legacy on the national theatre landscape through her active support of the next generation of artists.

Snapshot of a year

We’re excited to share with you the latest edition of the Faculty of Fine Arts Annual Review. While it’s always difficult to encapsulate an entire year’s worth of activity into a single 36-page magazine, we do enjoy the creative challenge of sharing our top stories with you!

“This past year, colleagues continued to reconceptualize the contours of arts education, creative expression and scholarly knowledge,” writes Dr. Allana Lindgren in her introduction. “The arts continue to be essential for cultivating dexterity through creative thinking and fostering the empathy needed to navigate our increasingly complex world.”

Dean Lindgren also notes the ongoing inspiration Fine Arts students provide. “Their commitment to creativity continues to inspire me and gives me confidence that the next generation of arts leaders has the temerity to transform life’s challenges into opportunities for intellectual reflection and artistic innovation.”

Inside, you’ll find a variety of stories about the recent activity of our faculty, students, staff, donors and community partners.

Education equates with action here in Fine Arts: we are committed to helping our students cultivate the skills needed to become innovative artists and engaged leaders.

Our curriculum, artistic practices, research and creative activities are rooted in our belief in the power of creativity, experimentation and the efficacy of the arts to help us to understand and address today’s most urgent and vexing issues.

If you missed a previous Annual Review, issues dating back to 2017 are archived here.